The 10th Annual Chicago Critics Film Festival Coverage 2023
Check out my Letterboxd ranking of the titles playing CCFF 2023:
https://letterboxd.com/jimlaczkowski/list/the-10th-annual-chicago-critics-film-festival
As much as I love watching a lot of movies, I’ve been more enthused to be around great passionate film lovers. I know I’m in for a wonderful experience curated by incredibly dedicated hard-working writers that always bring their A-game. Here’s a rundown of what I’ve seen so far throughout the course of three along with short reviews for nearly everything so far! A couple more reviews post-festival are available here!
Friday, May 5, 2023
Blackberry
Review / interview w/Matt Johnson here: https://www.directorsclubpodcast.com/reviews/blackberry
Sanctuary
And now for something completely different but very welcome. Another huge attendance for this film possibly due to the tantalizing premise involving a dominatrix portrayal. The film's main and mostly sole characters, Rebecca (a sublime Margaret Qualley) and Hal (Christopher Abbott), are in an unconventional relationship — Hal is an insecure submissive and uber-rich client of Rebecca, a sex worker who usually has strict rules regarding her clients' relationship with her. They must not touch her, nor attempt to be intimate in any other way besides what their predetermined boundaries state. Unfortunately, when Hal attempts to break off their relationship due to him inheriting his father's massive hotel business, these rules are broken in fascinating ways.
The plot is very simple and there are literally only two actors we see on screen for the entire running time, giving this an Oleanna-like setup that draws you in based on the performances and dialogue alone. I happen to be a huge fan of movies that feel like theatrical plays, set in mainly one environment or space and this is no exception. Again, it is about power and the struggles two people face when they’ve become a bit co-dependent, whether money is involved or not. The way things play out is definitely surprising, but also inevitable with a beautifully delivered final line and sequence that turns this more into a romantic comedy than expected. But really, this is really a showcase for two of the best actors working today particularly Qualley who once her true hairstyle is revealed begins to echo and emulate what her mother did in Soderbergh’s Sex, Lies and Videotape. This film isn’t quite up to that nuanced level in terms of what it has to say about relationships built on dominance and submission, but much like Blackberry, it was consistently entertaining to where the audience was glued to the screen.
Saturday, May 6, 2023
Shorts Program 1
For the shorts program, included the plot synopsis followed by brief thoughts on each. Suffice to say, this was one of the highlights of the festival, particularly a couple of films that touched on relevant, important topics that definitely could be expanded into a feature.
The Mundanes - Get to know the Mundanes, a faceless suburban family with an unusual appetite. This "Guide to the Happy Family" is a surreal daymare homage to classic PSAs of mid-century America. Directed by Nicole Daddona and Adam Wilder. (4 min.) - What a strikingly surreal way to kick things off that makes Bob Balaban’s Parents look like a Disney film. Wouldn’t be surprised if this one haunts my dreams for a bit courtesy of the creepy faceless family that seem to carry a deep dark secret. Disturbing and funny in all the right ways.
Wüm - Bennett, a nonbinary new parent, joins a Mommy Group called "Wüm." What is supposed to be a supportive space turns into a Hipster-Stepford-Wife nightmare with Bennett being smothered by white lady wokeness. Directed by Anna Margaret Hollyman. (13 min.) - A kind of Solondz-esque journey of discomfort following a nonbinary character navigating a support group that is not nearly as supportive as one would hope. Again, lots of laughs accompanied by cringing and definitely a director I look forward to seeing more from. Glad it didn’t veer into violent territory the likes of Soft and Quiet - it’s more akin to a Curb Your Enthusiasm episode instead.
The Vacation - The Sundance Special Jury Award Winner for Directing follows a group of friends who attempt to take a vacation trip to the beach one summer but when their car won't start they are forced to take their vacation in their car. Directed by Jarreau Carrillo. (10 min.) - Another highlight here is this hangout movie featuring friends who want to enjoy a warm summer day, but instead of venturing out, they stay in their car and each have a small epiphany about who they are and what they may or may not want out of life. Small, intimate, charming and very well-acted by the entire cast. Plus it’s very well-directed given the spatial limitations.
Thriving: A Dissociated Reverie - A surrealist exploration of dissociative identity disorder (DID) based on the lived experience of a Black, nonbinary, disabled artist and former sex worker. Directed by Nicole Bazuin. (10 min.) - This film is a great amalgam of laughter, heart and insight while normalizing two important aspects of life that often comes with stigmatization - sex work and mental illness. It ultimately becomes a well-observed, empathic portrayal of the real-life challenges a person faces as they manage and try to balance dissociative identity disorder, financial stability all while being able to function in a complex, often unsupportive world. This along with the next short film were my favorites by far.
Endless Sea - Carol begins a normal day only to find out that her heart medication has doubled in price. Afraid, but not without hope, she sets out to find a solution, but her journey doesn't lead to salvation, only a desperate act of revolution. Directed by Sam Shainberg. (19 min.) - Definitely my pick for the best of the bunch with a heartbreaking central performance by Brenda Cullerton, the type of actress we don’t normally see as the lead protagonist but we should. Films that critique the current state of the health industry truly do hit home for the lives of many and this one almost takes that to Uncut Gems-esque levels throughout. I was mesmerized by this from beginning to end - a strong showcase of how we have failed as a civilized society and forgotten about those who need us the most. The state of healthcare in this country sucks.
Beyond the Fringe - An intriguing little paper figure magically emerges from a notebook on a quiet evening. At first, it was full of curiosity and excitement. But soon, when the little paper figure suddenly discovers how small and fragile and alone it is in this big, foreign world, fear sets in and causes it to crumble. This is a coming-of-age story about leaving home. Directed by Han Tang. (5 min.) - Not a lot to say about this one but it’s pleasant and served as a perfect break in between the more harrowing features. A visually unique intermission of sorts!
I Have No Tears, And I Must Cry - Maria Luisa is ready to escape immigration limbo, but when her green card interview takes an unexpected turn, she faces the anxiety of losing the life she had planned. Directed by Luis Fernando Puente. (13 min.) - Another smart, well-observed social commentary about a broken system - this time involving immigration services. It’s about facing the anxiety of losing the life you had hoped for - fully realized and captured in another mostly enclosed office space. It’s hard to not get involved with what the lead character is experiencing, even with the short running time. Plus you just get mad at how inhumane those behind a desk can be towards those who struggle.
Breaking Silence - A verité portrait of Walker and Leslie Estes, a deaf father and CODA daughter from Baton Rouge, LA, who work together upon Leslie’s release from prison—driven by their shared experiences of incarceration and deafness—to help others in their community affected by the prison system. It is an intimate exploration into parenthood, regret, and, ultimately, healing. Directed by Amy Bench and Annie Silverstein. (18 min.) - A documentary version of the Oscar-winning CODA? Sign me up! Another powerful story that grabs you from the moment it starts that ends the first short program feeling a little bit wrecked, but in a good way. There’s a lot of hope here in the portrayal of someone who goes out their way to help deaf inmates adapt to their surroundings while also realizing the limitations of the prison system. Collin did a terrific job putting all of these together as a short film mixtape and didn’t neglect some important, timely, thought-provoking subject matter along the way.
Afire
This begins a mostly good run of films that I felt were nothing remarkable but still worthwhile nonetheless for various reasons. As I told one of the programmers, the first three days consisted of features that I thought were solid but nothing truly blew my socks off yet. Which isn’t a bad thing by any stretch. Certainly the short films were among the strongest I’ve seen but I was definitely hoping for more with the latest from Christian Petzold who made two terrific films that I enjoyed immensely - Phoenix and Transit - along with several others that have been acclaimed. I’ve only seen three and Afire is sadly at the bottom of the list right now.
Two buddies – cranky introverted writer Leon (Thomas Schubert) and free-spirited, sexually liberated photographer Felix (Langston Uibel) – arrive at a coastal cottage to work on their creative pursuits and enjoy a vacation of sorts as well. There they are surprised to find another occupant, Nadja (Paula Beer), the niece of Felix’s mother’s colleague. Further distractions arrive for Leon when he meets Nadja’s hunky lifeguard boyfriend Devid (Enno Trebbs), all while he is expecting an imminent visit from book editor Helmut (Matthias Brandt).
It’s mostly a slow build to when everything clashes into beautifully orchestrated chaos particularly once it starts to rain ash as a result of a forest fire that is wreaking havoc with no signs of being stopped. This ends up being a mostly intriguing tale of fragile masculinity and male insecurity. There were times when I hated Leon and other times I related to Leon. He doesn’t seem to be interested in making connections with others, instead he alienates them and this is not always pleasant to witness. The rest of the cast all has moments of tenderness and while it remains compelling, I was hoping the blood red sky would hint at something more and sooner. But overall, I did enjoy my time with these characters and wondered how it would all play out. Petzold’s endings are always a breath of fresh air and this one is no exception. It just takes a little while to get there.
The Unknown Country
Lily Gladstone’s face, everybody. That’s my review of this movie. But seriously, this is another very good film that doesn’t quite achieve greatness due to a lack of strong characterization. But I’m still recommending it for what it strives to achieve. Lily Gladstone (who all but steals Certain Women) stars as Tana, a young woman of indigenous background whose grandmother has just died, leaving her a white Cadillac in which she embarks on a journey of mourning and self-discovery. The people she meets on the road will most often prove comforting, though some embody the kinds of dangers that any woman traveling on her own fears to encounter. Writer/Director Morissa Maltz doesn’t shy away from these concerns but spends most of her time highlighting more positive interactions in the forms of Errol Morris-like detours. There are interviews of those she comes into contact with along the way.
This is another sub-genre of dramatic storytelling that I particularly enjoy: the road movie in which the journey is the destination. It’s about self-discovery while not neglecting those who cross your path. Along the way, Tana meets the proprietors of diners, gas stations, and dives, at which point the movie will seamlessly enter into a mini-portrait mode (with expositional interviews playing over shots of Gladstone inaudibly improvising her way through these random encounters). This choice does make the narrative a bit uneven, though it never sinks the movie. It’s refreshing to see these detours add up to a bigger picture and of course the cinematography is stunning throughout. Once Tana ends up in Big Bend, all story threads and thematic concerns coalesce, the echoes of the past surfacing in the present.
Gladstone is just one of my favorite screen presences that to follow her makes this worth recommending. I didn’t get as caught up as emotionally as I expected in the end, but there’s so much here to lean into (often creating a desire to hit the road myself) that I was along for the ride even if I wish it all meshed together better.
birth/rebirth
One of the more interesting, thematically rich films of the festival that also left me wanting more once we reached the final shot. In a way, I wanted the movie to go on instead of end. This is mostly a compliment for such a startlingly original take on Frankenstein that often brings to mind the idea of David Cronenberg directing Lucky McKee’s May.
At the center of this body horror tale of motherhood is the compassionate Celie (Scrubs’ Judy Reyes), who spends most of her days working long hours as a maternity nurse while trying to juggle caring for her own daughter Lila (A.J. Lister) almost entirely alone. Beneath her in the same hospital, there is the pathological meticulous Rose (Marin Ireland), who works and lives in isolation with a fixation on finding a “cure” for death. The two strangers, defined by their opposing character traits and contrasting desires, are soon drawn together when sudden tragedy strikes.
While Celie had been away at work, she had to leave a sickly Lila in the care of a neighbor. All had seemed fine with her just going through another day of looking after patients before taking the bus home. However, unbeknownst to her, the 6-year-old soon took a turn for the worse. Celia only learned after the fact that she had perished in the hospital. Guess what Rose decides to do for her own experimental methods of re-animation which she already had successfully done with her pet pig.
Another movie that I’ll be thinking about for quite some time. Writer/Director Laura Moss definitely has an assured vision with a lot of ideas about what it means to keep a person alive almost to an obsessive degree. The medical industry certainly does what it can even in the face of suffering, to keep their heart beating even if it’s time to say goodbye. Not to mention the powerful force that mothers carry in not wanting to let their child depart to where they will go to extreme measures. The acting is strong here and there are definitely brutal moments of shocking gore, but I almost felt like the final act was more of a whimper than I had hoped. Not sure what I would’ve wanted in its place and I enjoyed everything leading up, but part of me was anticipating a true emotional wallop like the kind I got with May, but it didn’t quite happen here.
Brooklyn 45
A chamber piece horror film that’s partially inspired by Clue? You would think this would’ve been one of the better experiences I had at the festival (part of me also blames the fact that I get tired earlier these days and this started at 9:45). Sadly, this was another bit of a letdown with a reversal effect that I had with Birth/Rebirth. The ending and final act was the highlight but it was a slow, gradual escalation to finally get to the goods.
World War II has ended. Peacetime has settled in, but not all is right in the world of Lt. Colonel Clive “Hock” Hockstetter (Larry Fessenden) who is still grieving the loss of his wife Susan, the victim of an apparent suicide. He has summoned his most important former aides and officers, all friends since childhood: the by-the-books Major Paul DiFranco (Ezra Buzzington), Hock’s dashing gay triggerman, Major Archie Stanton (Jeremy Hom), his chief interrogator, Marla Sheridan (Ann Ramsay), and her husband, a pentagon pencil pusher, Bob Sheridan (Ron E. Rains).
They have been brought to Hock’s Brooklyn brownstone to execute a seance, in an attempt to connect with the recently deceased Suzie. Despite the misgivings of the arranged officers, the sloppy ritual proves successful, and a chain of events is unleashed that releases secrets from all of the assembled friends, including an imprisoned neighbor, Hilde Baumann (Kristina Klebe), whom Susie had suspected of being a Nazi spy. So this horror mystery ultimately leads to a rather surprising climax that you wish would’ve been introduced sooner.
The attention to period detail in the set design and wardrobe are both sharp, and the proceedings are marvelously captured by cinematographer Robert Patrick Stern. Set for the large part in Hockstatter’s parlor, the film gives the proper amount of a claustrophobic feeling. Indeed, the film could work tremendously as a stage play (not unlike Sanctuary), but it wraps viewers up in its world so well that it never feels stagey. Nevertheless, it is almost too talky and expositional. The focus is mainly on the setup which left me a bit restless despite really enjoying the cast, particularly the reliable Fessenden and Jeremy Horn. Brooklyn 45 ended the night on more of a relaxed note of realizing that as much as I liked a lot of things about the films I had seen, there were lackluster elements in just about everything outside of the first night. But again, most movies are flawed after all so not one movie seen felt like a waste of time thankfully.
Sunday, May 7, 2023
Ernest & Celestine: A Trip to Gibberitia
Aww what a perfect way to start the day with a delightful French animated feature (though admittedly I didn’t make it in time and caught up with a screening link later). As a fan of the original Ernest and Celestine (a bear and a mouse that play music - what’s not to love), I was greatly looking forward to revisiting these two characters who have such a joyful friendship.
Stone cold broke and with barely anything left in the house to eat, Ernest and Celestine (who now live together!) are just barely scraping by. When Celestine trips over one of Ernest’s slippers on the stairs, Ernest’s precious violin, the Stradibarius, practically breaks in half. Octavius the Luther may be the only one capable of fixing it, but he lives all the way back in Ernest’s hometown of Gibberitia. At first, Ernest is reluctant to return; Celestine leaves a note, and attempts to make the trip herself. Before long, the duo reunites after a dangerous snowy tundra nearly cuts things short. Once they enter Gibberitia, they are very surprised to see that it’s essentially turned into a red state / fascist regime and it’s up to the duo to reignite the spark of creative expression among the all-too controlled townsfolk.
When they head to the town square, a studious bear performing on a piano catches their attention—on his piano, there is merely one key! In Gibberitia, multi-note instruments have been completely banned! C is the only acceptable note. Chirping birds are sprayed away with water, and a militant police force is quick to smother out any traces of music when it arises. Ernest and Celestine must convince Ernest’s father (the judge) that art deserves a place in the free world again and being censored only brings depression.
So this subject matter remains timely today given what librarians are going through in certain U.S states like Florida. Of course this is also an adorable children’s film that may hinge on a sociopolitical message but it does so in a manner that is never cloying. It is thoughtful, whimsical and engaging for the whole family. Plus the music is all-around wonderful as well, especially once the whole town finds their voice again. How can you not love a movie that shines a light on the importance of artistic expression in our society?
Master Gardener
Well there had to be one that I found very little to connect to overall and sadly, it’s the latest from Paul Schrader, a filmmaker whose work I normally do think has a lot of interesting topics / themes and ideas. But this is a copy of a copy - recycled Schrader that may be a fitting conclusion to his last two films but nowhere near as strong.
The Man in the Room writing in his journal this time around is the wildly named Narvel Roth (Joel Edgerton), who, rather than enact a routine that hollows him out is instead ensconced within Louisiana’s Gracewood Gardens, the eponymous horticulturist under the command of matriarch Norma Havervill (Sigourney Weaver). This is where he’s “doing his time” in a way to hopefully gain peace of mind after a dark, violent past.
Enter Norma’s grandniece who becomes an apprentice. The gardener is forced to take on his employer’s troubled relative (Quintessa Swindell) who is struggling with addiction and misguidance. Of course, Narvel’s secrets from his past slowly start to boil to the surface. All one has to do is take notice of what happens when he reveals his bare chest to know that trouble is coming.
Oddly enough, this is far more subdued than his last two films in a way that finds Schrader possibly being at peace and coming to terms. It ends on a surprisingly hopeful note, rather than a dour one which in turn lead to some disappointment and dismay to some degree. Perhaps it shows growth that there isn’t the usual cathartic outburst (or barbed wire serving the place of a crown of thorns) but with that comes a certain subdued temperament that borders on tedious. Joel Edgerton’s restraint as an actor doesn’t serve him particularly well here even though he’s up to the task against Weaver’s intense, unwavering control freak that “sees everything.”
This was an interesting experience on a lot of levels. First off, the opening shot shows Narvel at a desk writing and the whole audience began to laugh in recognition of the Schrader motifs. There was also random laughter during parts that weren’t funny - tonally, something just felt off. I’m not sure if Schrader had quite the grasp of control he did with the last two pictures, both of which I had issues with despite compelling lead performances.
This one is a near-miss that ends up being surprisingly mediocre and underplayed. I also just couldn’t buy a certain relationship that develops especially given what Maya knows about Narvel. It was hard to feel invested in ultimately what becomes of them both. Though it is certainly different for Schrader to embrace absolution as opposed to visceral retaliation. Again, not a waste of time by any stretch but also oddly uninspired with rehashed material from a reliably interesting artist like Schrader.
Passages
Sometimes you come to a movie for the cast and acting and that’s about the most I can recommend about the latest from Ira Sachs with Passages. As I was walking out, I thought to myself, there really isn’t a whole lot to write about or deconstruct with this particular film. It never bored me or felt unengaging, it just felt like a film I have seen many times even if there were compelling performances at the center of it all.
German filmmaker Tomas (the great Franz Rogowski) has a fickle eye for beauty. The film makes his struggle for controlling satisfaction clear from the outset as he directs a film scene in a nightclub. He’s the typical toxic male director who likes calling shots, belittling others, all while being a prick. He is pure id / impulse to an often obnoxious degree. Cut to a nightclub where Tomas and his husband Martin (Ben Whishaw) make friends with a young woman named Agathe (Adele Exarchopoulos). Martin isn’t feeling the vibe and leaves the party, while sparks fly between Tomas and Agathe on the dance floor. When Tomas returns home the next morning, he drops a bombshell. “I had sex with a woman,” he tells his husband. Martin, visibly flustered, shakes it off and reassures himself that this always happens when Tomas finishes a movie.
But this time it’s different because Tomas begins to feel a magnetic pull towards Agathe in a way that causes his marriage to disintegrate. What follows is a rather repetitive case of narcissistic trial and error. Tomas feels bored with one partner, then comes running back to the other. Even once a possible pregnancy comes into the picture, Tomas still can’t help himself. He is not a happy person even if he’s loved by both men and women. On top of it all, this is a horny movie.
That’s about the most I can say for this one - it is sexy, sweaty and full of memorable scenes of intense intimacy in the European tradition. This is a departure for Sachs but didn’t strike me as an entirely organic one, more of a lark or a pastiche. It was hard to find sympathy for such a loathsome and pathetic protagonist even if his downfall becomes compelling nonetheless. Rogowski and Whishaw are the reasons to see this while Exarchopoulos is given little to do. Again, a movie that I never felt was a complete waste of time but this story of someone torn between two lovers has been done many times and I knew where it would ultimately end up. Passages certainly showcases a conflicted love triangle that’s definitely sensual and vulnerable but it pretty much left my mind once the closing credits started.
Waiting for the Light to Change
What a perfect title. My 2nd favorite movie of the festival thus far (of the first three days). It stood out among the crowd, felt genuine, honest but one does have to prepare themselves for one slow ride that takes time. Last year I loved a movie called The Quiet Girl from Ireland. This one almost could’ve been called The Quiet Girls if it weren’t for a couple of male side characters that are there amongst this group of twenty-something college graduates attempting to figure themselves out.
We follow five main characters here and they each come together in various awkward degrees, some reuniting and others meeting for the first time at a lake house in Michigan at the tail end of winter. This is a time to get away and escape but they’re also adrift, searching for their own personal identity, particularly friends Amy (Jin Park) and Kim (Joyce Ha). Kim also brings along Lin (Qun Chi), her cousin from China she hasn’t seen in a decade. Kim’s boyfriend, Jay (Sam Straley) invites his guitar-playing step brother Alex (Erik Barrientos). While Alex admits an attraction to Amy and Lin happily tags along with everyone, there’s a history between Jay, Kim and Amy that adds a quiet anxiety to this winter trip.
Throughout the course of the film, we are privy to Amy’s insecurities and certainly an unrequited love that she carries with her. The main focus is on her and Jin Park stands out as a shy but authentic young woman, unsure of what she wants. She doesn’t feel like she’s accomplished much but give her time - she’s only in her twenties. There are just beautiful long takes here, still shots of sublime beauty. Sections of this film felt like being a fly on the wall to the point of wondering when the edit/cuts will happen to break the tension.
When it was over, the writer/director Linh Tran spoke of two key influences that I detected as well: Eric Rohmer and Hong Sang-soo. Which makes complete sense. In a way that felt like Hong Sang-soo’s cover song of a Richard Linklater hangout movie. But Linh has a talent and a voice that’s entirely her own, making you excited for what comes next. There is such subtle beauty and groundedness. A stillness accompanied by an unease. Plus the conversations and feelings that arise are quite relatable to say the least. This is a little treasure of a film about the quarter-life crisis and the hope of growing past it, even if it means losing a lifelong friend along the way. I was pretty much engrossed by every scene even if the male characters aren’t as fully realized as the women - that didn’t bother me whatsoever. This is Linh’s story and it feels pure, truthful and honest, sometimes painfully so. It won the top prize at the Slamdance Film Festival for good reason and is one of the best films of CCFF 2023.
Skipping Monday, returning Tuesday - back with more reviews later in the week!
Once again, plenty more to come Tuesday-Thursday so come on out!
https://musicboxtheatre.com/series-and-festivals/the-chicago-critics-film-festival
